Thursday, 3 July 2014

A terrific production of Gluck’s Orfeo ed Euridice from the baroque theatre of Český Krumlov Castle on a new DVD from Arthaus Musik , beautifully sung by Bejun Mehta, Eva Liebau and Regula Mühlemann with Collegium 1704 and Collegium Vocale 1704 conducted by Václav Luks

Orfeo ed Euridice by Christoph Willibald Ritter von Gluck (1714-1787),
is based on themyth of Orpheus set to a
libretto by the Italian poet Ranieri de' Calzabigi (1714-1795), was first
performed in Vienna on 5 October 1762.

It tells the story of Orfeo who grieves before Euridice’s
tomb, cursing the gods for having taken her away and resolves to descend to
Hades, braving the Furies to find her. Amore, the god of love, announces that
the gods, moved by Orfeo’s despair, will allow him to reclaim Euridice from
Hades on condition that he doesn’t look at her until they have returned to the
upper world.

At the entrance to the underworld, Orfeo begs the Furies to
take pity on his tears and, after first refusing, they respond to his
entreaties and allow him to enter Hades. Orfeo finds Euridice and urges her to
hurry with him back to the upper world, but unable to resist her anguished
pleas, Orfeo defies the gods and turns to embrace Euridice. She breathes a
farewell and dies.

Overcome with grief Orfeo resolves to join Euridice in
death. Amore reappears, announcing that Orfeo has passed the tests of faith and
constancy. She restores Euridice to life and the happy couple returns to the
upper world, but Orfeo at last realises that it is an illusion and walks away
alone.

Filmed at the rarely used baroque theatre of Český Krumlov
Castle, Czech Republic www.zamek-ceskykrumlov.eu, director Ondřej Havelka captures much more than a stage performance,
combining period details with a modern psychological interpretation using a
cinematic approach.

The film opens with Orfeo filmed in a room of the castle,
picking up his lyre and playing, whereupon we are led directly into the
Overtura. Here the period band, in 18th century costume, is seen
playing in the old theatre of the castle. The camera takes us between the
theatre and the room where Orfeo is waiting.

Act 1 Scene I takes us onto the stage of the
theatre where Orfeo is mourning over the dead body of Euridice. Bejun Mehta is
an excellent Orfeo with his fine countertenor voice with rich lower timbres and
delivering some fine, emotional acting.

The stage sets by Zdenĕk Flemming are beautifully done in
what appears to me to be authentic 18th century style. The dance sequences
are beautifully done. As this scene continues the camera begins to glide around
the stage in circles giving more than a theatre audience would see.The use of lighting is very effective, subtly
washing changes of colour over Euridice’s body whilst Orfeo laments. The
costumes by Jana Zbořilová are in the style of ancient Greece except for Orfeo
who has a simple but rather 18th century style costume.

Soprano, Regula Mühlemann as Amore makes her appearance in Scene II as she descends on a wooden
cloud. This is a really a lovely touch. She has an excellent voice and brings
much cheeky fun to her role before Orfeo, with her permission, descends into
the underworld via a trapdoor in the stage accompanied by the sound of thunder.

Act 2 Scene I finds the hero in the bowels of
Český Krumlov Castle with Collegium 1704 providing a beautiful sounding
orchestral Maestoso. When the Furies that guard the underworld appear they
create a real impact in their terrific costumes. Indeed, right through this
scene the chorus deserve the upmost praise. Bejun Mehta’s Orfeo shows real
emotion as he begs for pity in the aria ‘Deh, placatevi con me…’ (Be merciful
to me, ye Furies)

With Scene II we
are in the Elysium Fields, the Abode of the Blessed Heroes where we have a
classic Greek scene with gentle dancing and a lovely orchestral accompaniment
from Collegium 1704, so sensitive and affecting.

Orfeo is superb when he sings ‘Che puro ciel’ (That pure
heaven) and there is another fine contribution from the chorus. Euridice pops
up from under the stage covered in veils which are untwined to reveal her.

Act III Scene I takes us under the castle as
Orfeo and Euridice try to leave the underworld as Orfeo sings ‘Vieni, segui i
miei passi’ (Come, follow my steps). Soprano, Eva Liebau as Euridice is also
well cast with a beautifully, musical voice that combines so well with Bejun
Mehta’s countertenor voice. Scene 1 continues to take the action through other parts
of the castle with some excellent camera work and the clever use of shadows as
the couple appear to ‘touch’ each other.

Eva Liebau shows herself to be a fine operatic actor with
some great singing in ‘Che fiero momento, (What a proud moment). After Orfeo’s
fateful look at Euridice, she dies ‘Ahimè! dove trascorso?’ (Alas! What have I
done?)

Orfeo’s aria, ‘Che farò senza Euridice’ (What shall I do
without Euridice) is full of pathos and brilliantly sung by Mehta with such vocal
control.

In Scene II, Amore
appears and, using the point of her arrow, cuts the rope that the despairing
Orfeo is going to use to kill himself.Euridice
is returned to life.

Scene III returns
us to the theatre or, perhaps, the real world as Orfeo, Euridice, Amore and the
chorus rejoice singing ‘Trionfi Amore’ (Love Triumphs).

But does it? In a twist, Orfeo is seen looking on at the
back of the theatre. But to find out more you will have to watch this stunning
new DVD.

This is a terrific production, imaginative, beautifully sung
and acted with excellent camera work and lovely sets and costumes. It has a
special feel.

The picture quality is excellent as is the sound when played
through an amplifier and decent speakers.

Sung in Italian, there are subtitles in English, German,
French, Spanish and Korean. The sound formats are PCM Stereo and Dolby Digital
5.0. The DVD booklet would help newcomers if they included a brief synopsis
though this is easily obtainable on line.

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About The Classical Reviewer

The Classical Reviewer has been involved in music for many years, as a classical record distributor, as a newspaper concert reviewer and writer of articles relating to music as well as reviewing for Harpsichord and Fortepiano magazine.

He assisted in the cataloguing of the scores of the late British composer George Lloyd and has co-authored a memoir of his friendship with the composer.

Having a particular interest in British music, he regularly undertakes talks on Elgar.

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